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Following recent tours with Wardruna and God is an Astronaut, composer and sound designer Jo Quail is set to release her 7th album Notan on 12th September.

Notan is the seventh album from composer and sound designer Jo Quail—a work of striking contrast and graceful power. Drawing its name from the Japanese concept that explores the interplay of light and dark, the album unfolds as a deeply personal journey through polarity: presence and absence, softness and intensity, expansion and return.

What began in June 2023 as a series of raw, looped improvisations evolved into something far larger: a symphonic tapestry titled Ianus, now destined for recording with full orchestra in late 2025. But Notan is not that orchestral vision—it is the source from which it sprang, and the space to which it returns.

In these solo iterations, the music breathes with both intimacy and grandeur—cello, electric cello, and piano intertwine in richly layered textures. The sounds Jo creates on both acoustic and electric cello range from the traditional to the highly sculpted; all sound design and modelling is her own, forming the distinctive sonic identity that makes her music instantly recognisable. Each track is a live take, with every looped section performed in full, capturing the immediacy of live performance while allowing for a more considered control of sound—one that honours the context of making a record.

Across its arc, Notan evokes archetypal energies. ‘Butterfly Dance’ embodies matriarchal authority—stately and untouchable in its raw grace. First single, ‘Rex’, by contrast, traces Jo’s own evolution. First appearing on her 2010 debut as a tentative, fragile offering, the piece was left untouched for years. Reawakened during the solitude of lockdown, it transformed—emerging here as something altogether more commanding: majestic, grounded, and complete. Jo comments,

The first single from Notan is Rex, some of you who’ve been with me since the early days might remember it first appearing back in 2010. It’s a piece I’ve returned to in live performance, and over time it’s evolved and reshaped itself. This version is something quite different: a reimagining that feels both familiar and entirely new. I’m really proud to be releasing it now — and yes, it’s over 9 minutes long (a bold choice for a single, I know!).

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Jo Quail is also set to tour the UK in September to support the release:

12/09 – Manchester – Deaf Institute

13/09 – Newcastle – Cluny 2

14/09 – Glasgow Core Fest

15/09 – Edinburgh – Voodoo Rooms

16/09 – Nottingham – Bodega

17/09 – Bristol – Jam Jar

18/09 – Leicester – The Big Difference

19/09 – Southampton – Joiners

20/09 – London – Omera

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Photo: Jiawei Zhang

Skål! German death metal militants SCALPTURE unleash the new video clip ‘Schwedentrunk’ in the wake of the release of their new full-length Landkrieg (‘Land Warfare’), which hit the world hard on March 7, 2025.

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The title ‘Schwedentrunk’ (‘Swedish Drink’) refers to a torture method, which was allegedly used at first by the troops of Gustav II Adolph, King of Sweden but got quickly adopted by all marauding troops ravaging the German lands during the 30 Years’ War (1618-1648). It was executed by forcing liquid manure and sewage down the throats of its victims.

The video clip was partially shot during SCALPTURE’s release show at Rare Guitar in Münster, Germany on March 7, and on the subsequent tour with CARNAL TOMB.

SCALPTURE comment: “The track ‘Schwedentrunk’ has quickly grown into a favourite both of the band as well as during our shows since Landkrieg was released in March”, guitarist Felix Marbach writes. “Much of the footage was shot at our release show and also during the tour with Carnal Tomb. The live video captures the raw ferocity on stage, but it is also a reminder of the intense time that we were able to share with so many of you. With some summer festivals on the horizon, we are going to pick up right there, where we left off.”

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Dark-electro artist, MARIE ANN HEDONIA has unveiled her new cinematic video, ‘Eve Had the Metallic Shine of Summer’.

The video concept was inspired by Ingmar Bergman’s film, Persona. Eve, our mannequin represents a toxic relationship. Eve is a person we pour our whole self into, a person who takes all of our energy, time, money, soul, and gives nothing back.

MARIE ANN HEDONIA’s collaborator, BLACK KITE, states, “This song is about the potency and allure of destructive, codependent relationships and how they require us to self-abandon. It speaks to both addiction and toxic relationships that masquerade as love or comfort, but are actually antithetical to both.” The ending is completely dependent on the viewer’s point of view: Do I go mad? Am I the bad guy? Am I free now?

The video was shot over a period of 13 to14 hours during one day of “guerrilla” style film making, all over Baltimore city and county. Director Alex Shaak was pivotal in creating the striking visuals seen throughout the video, bringing the concept to life. The weather was completely coincidental. The energy of the thunderstorm very much translates the powerful ending of the video.

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In anticipation of their soon-to-be-announced new album, Italian psych-garage band Bee Bee Sea returns with a 3-track concept EP titled It’s All About the Music and a limited 7" edition presented at Bergamo’s Punk Rock Raduno #8.

Three acts. One song. Three versions. The same song, reimagined in three forms:

The original version.

A faster one, like a punked-up Sgt. Pepper’s Reprise, born out of rehearsal boredom.

A slow, kraut-rock-inspired instrumental version shaped in the studio by producer Marco Giudici, who also played one of the guitars.

Each version got its own video, crafted by a different filmmaker:

A collage of Age of Empires visuals, curated by Lorenzo Perteghella

A medieval fantasy starring the band in armour, directed by Marco Bellini, with photography by Gloria Pasotti

A dynamic green-screen performance edited by Marco Alliegro

The limited 7-inch vinyl was released at Punk Rock Raduno #8, and was screen-printed live during Bee Bee Sea’s show in Bergamo by Saldacani and Baby Lemonade. A physical artefact. A visual riot. A mini garage-rock opera.

Check the video trilogy here:

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The Los Angeles-based punk band Sour Tongue was formed in the early days of the 2020 pandemic by Satori Marill and John Murphy, the mission of the alternative rock, grunge and riot grrrl influenced quintet remaining the same ever since their inception: “when it stops being fun, we’ll end it.” Fusing disco with grunge, hardcore punk with country, plus much more, Sour Tongue utilise humour and a degree of sonic absurdity to convey a deeper message of angst and desperation.

Having developed a global fanbase via four previous singles, an EP, plus a US tour with industrial rock heavyweights KMFDM, the band’s bright and breezy new single ‘I Thought You Liked Me!’ was written about a near universal experience felt by girls. “I wrote the song about being manipulated and lied to, getting fed up and reversing the roles,” states vocalist Marill. “I wanted to talk about reactive impropriety, but with a feeling of guilt tucked beneath it, because I think a lot of people are ashamed to admit when they do something out of spite. I think anyone who has ever had their heart broken and done something stupid in return can relate to it.”

The single is taken from a forthcoming EP entitled Final Girl, their most personal set of songs to date. Told as a story in four parts, it is about the intersection of grief, betrayal and heartbreak, yet loving through it all. It’s dark, it’s angry, it’s funny, it’s heartbreaking. It’s a horror comedy.

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Los Angeles psychedelic rock outfit Tombstones In Their Eyes present their new single ‘I Am Cold’, born from a period of intense personal freefall. It’s a raw, unflinching look at vulnerability and the chilling acknowledgment of emotional detachment, transforming inner turmoil into a powerful, resonant anthem. 

‘I Am Cold’ is released by Kitten Robot Records, along with the B-Side ‘Take It Down’, which was recorded during the Asylum Harbour sessions. Spawned from a dark night of the soul, is a visceral outpouring of longing and a stark confrontation with a perceived numbness. A testament to creativity salvaged from the depths, this song is a gripping sonic journey forged in a crucible of personal hardship.

‘I Am Cold’ is the final offering from the band’s latest Asylum Harbour album, following psychedelic audio-visual trips for the singles ‘By My Side’, ‘Gimme Some Pain’, ‘I Like to Feel Good’ and ‘Mirror’. Recorded at Kitten Robot Studios, this album was recorded produced and engineered by Paul Roessler (known for his work with Josie Cotton, Nina Hagen, Hayley and the Crushers and Gitane Demone) and co-produced by John Treanor.

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Today, Tombstones In Their Eyes is made up of long-time members John Treanor (vocals & guitar), Stephen Striegel (drums), Courtney Davies (vocals), Phil Cobb (guitar) and Paul Boutin (guitar), along with new band members Nic Nifoussi (bass) and Clea Cullen (vocals).

What started as a demo-swapping exercise between Treanor in LA and James Cooper in NYC a decade ago evolved into a powerhouse band crafting expansive psychedelic soundscapes. For Treanor, these sonic explorations are not only an immersive subliminal journey, but a way to grapple with anxiety and depression by channeling it into art that boldly gazes outward at the universe while diving deep into the soul. Literally a cosmic therapy session.

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Cruel Nature Records – 1st August 2025

Christopher Nosnibor

If ever an album was appropriately titled, this is it. Obliteration is from the Sunn O))) / Earth end of the slow and heavy spectrum, with everything low and grinding and dense and seeping along at a snail’s pace – but it’s also so very different. The eleven-and-a-half-minute ‘Teeth’. which raises the curtain on this colossal work, trudges along, thick and murky, the guitars like sludge, overlaid with the most haunting, ethereal vocals, like spirits ascending to the heavens – or perhaps more accurately, fleeing the molten torment of the volcanic pits of hell. The quieter passages ripple gently, but there’s something off-key and off-kilter that proves unsettling, a discordance which isn’t quite right.

The album is described as ‘a visceral, atmospheric journey shaped by improvisation, deep literary roots, and a shared affinity for both crushing heaviness and ghostly ambience’, with the notes going on to add that ‘vocalist and instrumentalist Amanda Votta draws lyrical inspiration from classic rock icons and poets alike – Led Zeppelin, Stevie Nicks, Carl Sandburg’s poems ‘Alone’ and ‘The Great Hunt’, along with Sylvia Plath.’

If none of the influences are immediately apparent, it’s likely because influence can be subtle, more a process of osmosis and assimilation rather than being about emulation. Drawing influence from Led Zep doesn’t have to equate to epic solos and using ‘baby’ a thousand times. And so it is that The Spectral Light suck all of those influences into a swirling vortex.

The churning ‘Branch’ is wild: ZZ Top on acid, Led Zep in the midst of a breakdown, riffs played at a thousand decibels through shredded speakers and melting amps. But it also spins into cracked post-rock territory over the course of its disorientating nine minutes.

Make no mistake: this is a monster: ‘Moonsinger’ warps and bends and it’s emotionally gutting in ways that are difficult to articulate. It touches the core of the very soul. The title track is defined by a dense, metallic churn… and yet there is still a delicacy about it. It’s dark, disturbing, ugly, and yet… beautiful. There is nothing else quite like this. And the dark, airless trudge of Obliteration feels like a black hole… and I find myself being dragged into its eternal depths.

Ahead of the album’s release, we’re privileged to be able to offer a video exclusive for the album’s final track and choice of lead single, ‘Whisper Surgery’. You might want to pour a big drink for this one.

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KHNVM unleash a new video single featuring the title track  of their new full-length Cosmocrator. The fourth album of the German death metal act with Bangladeshi roots has been scheduled for release on August 29, 2025.

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KHNVM comment: “The title track of our new album, ‘’Cosmocrator’, delves into the duality of its name, which translates as ‘Ruler of the World’ as well as its sinister connotation meaning ‘Satan’ within ancient pagan texts”, singer and guitarist Obliterator states. "This reflects our exploration of themes that are both universally human and also profoundly dark. Through intense musicality and complex lyricism, we confront the unsettling truths that lie beneath the surface of existence, appealing to those who seek adrenaline combined with philosophical depth.”

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New Irish trio Rún are preparing to release their debut self-titled album on Rocket Recordings on 22nd August, and today share with us another taster in the form of ‘Strike It’.

About the track the band comment, “’Strike It’: A barely contained explosive doom riff with an industrial patina; points to the hypocrisy of a religious institution in profound dereliction of its duty to the most weak and vulnerable of us. The song addresses the macabre details of the Tuam babies controversy in Co. Galway, Ireland.”

The Irish word Rún can mean secret, mystery, or love, or perhaps some elusive combination of the three, reflecting the many aspects of life that defy easy explanation. In wrestling with these, it can become necessary to commit oneself entirely, to jump in at the psychic deep end in search of the vibrations and feelings at hand. This is where the band Rún come in.

The debut album of Rún – the result of three powerful artists locking horns and bringing equally passionate and uncompromising approaches to bear – is no less than an extraordinary collective catharsis. Yet more evidence that true heaviness is about much more than a cranked amp. It’s an emotionally driven and richly atmospheric journey into the darkest recesses of states earthly and unearthly, from a spiritually intrepid outfit who alchemise experimental methods and improvisatory states to reach intimidating heights of sonic and psychic intensity.

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Live dates:

21 Aug / Galway / Roisin Dubh
22 Aug / Cork / Nudes
27 Aug / Dublin / Spindizzy Records (instore)
29-31 Aug / Birmingham / Supersonic Festival
6 Sep / Sligo / Minor Disturbance Festival
15 Nov / London / Rich Mix (w/ Sirom)
19 Nov / Glasgow / The Glad Cafe
20 Nov / Newcastle / The Lubber Fiend

Rún comprise firstly Tara Baoth Mooney – sometime Jim Henson voice artist, with a longstanding background in everything from folk and choral music to experimental film-making. Diarmuid MacDiarmada – Nurse With Wound co-conspirator and brother of Lankum’s Cormac, brings with him the experience of avant-garde collaborations with a plethora of artists stretching back over thirty years. Drummer, sound designer and engineer Rian Trench, meanwhile, has worked on everything from the psychedelic IDM of Solar Bears to auto-generative experiments to orchestral arrangements, and owns the studio – The Meadow on Ireland’s East Coast – in which the album was made.  
The disparate artistic practices of the three members of the band collude in this context to create something no member could have foreseen. “Beyond the larger themes we explore, the work is often inspired by dreams, synchronicities, and other uncanny influences found in everyday life” reckons Diarmiud.

Besides this, an extremely diverse range of musical influences make their presence felt here, from William Basinski and Pauline Oliveros to Om, Coil and The Necks. “Suffice to say that there was a variety of sacred musics, acid-folk, cosmic jazz, stoner / sludge-metal, avant-garde composers and a hint of R&B being ground up and baked in with everything else in our wonky witches’ kitchen.” They say, “Things that possibly shouldn’t go together are juxtaposed to create something surprising and new.”

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Photo by Robert ‘Scan’ Watson

Parisian fuzz fanatics Electric Jaguar Baby return to burn down the garage with Clair-Obscur, their wildest, heaviest, and most electrifying album to date, set to be released on September 5, 2025 via Majestic Mountain Records (Kal-El, Saint Karloff).

Today, the duo ignite another surge of fuzz-fueled energy with the release of their latest video, “Bring Me Down,” featuring a special guest appearance by Patrón.

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This follows the release of the raucous lead single ‘My Way’, and the recently premiered ‘Heroine’, which features guest vocals by Chris Jr. of Greek doom heavyweights Acid Mammoth, another fuzz-drenched bombshell from the upcoming LP.

Formed in 2015, the duo comprised of Franck (drums/vocals) and Antoine (guitar/vocals), have spent the last decade distilling garage, stoner, punk, psych, pop and grunge into pure fuzz-fueled chaos. Known for their explosive live shows and no-rules approach, they’ve shared stages with everyone from Sepultura to Death Valley Girls.
Now, “Clair-Obscur” marks their third full-length and most fearless outing yet. Recorded live and drenched in distortion, the album rips through 11 unfiltered tracks of raw sonic adrenaline, with killer guest appearances from Lo (ex-Loading Data) and Chris Babalis Jr. (Acid Mammoth).

With a new EU tour in the works and their amps permanently stuck at 11, Electric Jaguar Baby are revving hard into a new era and you’re invited along for the trip.

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